Consequence's Scores

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For 4,038 reviews, this publication has graded:
  • 44% higher than the average critic
  • 4% same as the average critic
  • 52% lower than the average critic
On average, this publication grades 4 points lower than other critics. (0-100 point scale)
Average Music review score: 69
Highest review score: 100 Channel Orange
Lowest review score: 0 Revival
Score distribution:
  1. Positive: 2,752 out of 4038
  2. Mixed: 1,215 out of 4038
  3. Negative: 71 out of 4038
4038 music reviews
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    • 70 Metascore
    • 60 Critic Score
    How Far Away
    Putting aside some of those rough edges, however, the record is a more than adequate diversion until Real Estate return with LP3.
    • 66 Metascore
    • 60 Critic Score
    In Waves
    What's disheartening about In Waves is its lack of a clear identity; the band seem to be targeting too much at once.
    • 72 Metascore
    • 60 Critic Score
    Mary's Voice
    It's the aural equivalent of a dusty old attic, rife with sounds that evoke memories of earlier times.
    • 70 Metascore
    • 60 Critic Score
    Anything In Return
    While Anything in Return might be the most consistent of any of his records up to this point, it lacks the punch to break through.
    • 76 Metascore
    • 60 Critic Score
    Son of Rogues Gallery: Pirate Ballads, Sea Songs & Chanteys
    Son of Rogues Gallery merits a couple of hours of anyone’s time. Just don’t expect to put it all on repeat. The tracks you do will be worth it.
    • 76 Metascore
    • 60 Critic Score
    Perils from the Sea
    Perils‘ biggest strength is also its biggest weakness: even at its best, it merely recalls the strengths of its individual players, instead of charting its own course.
    • 71 Metascore
    • 60 Critic Score
    Born Sinner
    Allusions to apples are all across the 16 self-produced tracks, along with glimpses of snakes, countless temptations, and the feeling that Cole knows too much for his own good.
    • 69 Metascore
    • 60 Critic Score
    Songs from the Vanished Frontier
    Though they don’t jar in any way, it’s easy to get the sense that lyrics aren’t the first thing that Cohen considers when constructing a song. It’s more that they glide over and drift in and out of the music without forcing you to stop to examine them.
    • 76 Metascore
    • 60 Critic Score
    Blondes
    Blondes need to hone themselves-become harder, better, faster, stronger-if they wish to become memorable, to stand out in listeners' minds as something tangible and unique.
    • 65 Metascore
    • 60 Critic Score
    The Lives Inside the Lines in Your Hand
    Most songs comfortably fit into a category I maybe unfairly have in my head called “As heard on The O.C.”
    • 70 Metascore
    • 60 Critic Score
    A Quiet Darkness
    Two downtempo instrumentals do little to elevate their surroundings, and the album’s longer tracks reiterate more than they evolve. Still, Houses accomplish their aim of filling an hour with a cinematic, transportive music--a perfect soundtrack to milling about the end times.
    • 62 Metascore
    • 60 Critic Score
    Glowing Mouth
    Glowing Mouth illustrates Wilson's impressive, technically precise vocal diversity, if not necessarily his range.
    • 67 Metascore
    • 60 Critic Score
    Hi Beams
    As evidenced by their remixes, the instrumental tracks here, and some of the pithier vocals, Javelin are high-caliber producers; their lyrics and melodies just haven’t matched that intensity.
    • 65 Metascore
    • 60 Critic Score
    Ode to Sentience
    Ode To Sentience, while it's far from being a radical departure, has plenty of surprises.
    • 74 Metascore
    • 60 Critic Score
    People, Hell and Angels
    People, Hell and Angel isn’t perfect--or godly--but it does contain some canon tracks that every Hendrix fan should hear.
    • 74 Metascore
    • 60 Critic Score
    Blak and Blu
    In a perfect world, he'd have everything necessary to run the blues flag worldwide; for now, we'll have to settle for something merely enjoyable.
    • 57 Metascore
    • 60 Critic Score
    Born This Way: The Remix
    Just in time for the holiday season, there's something for everyone on Born This Way: The Remix.
    • 62 Metascore
    • 60 Critic Score
    From the Top of Willamette Mountain
    The range of effects the place has on the folk singer resulted in his most resonant work yet.
    • 76 Metascore
    • 60 Critic Score
    CVI
    CVI is a serviceable debut-with remarkable vocal performances-but Royal Thunder sounds caught between what it is (a blues-wielding powerhouse) and what it aspires to be (prog-metal escapism).
    • 71 Metascore
    • 60 Critic Score
    Blazing Gentlemen
    Blazing Gentlemen (and many of Pollard’s other releases) are less an album than a suite.
    • 69 Metascore
    • 60 Critic Score
    Glow
    Compared to Fourgeaud’s 2005 debut, Smash, there’s a new clarity within the arrangements. Clarity that allows the album’s inspirations to excessively bleed through a disorienting IDM facade.
    • 74 Metascore
    • 60 Critic Score
    Soft Fall
    While there is more focus to the classically tinged electro-pop songwriting on Soft Fall than their last album (2010′s Nocturne of Exploded Crystal Chandelier), it shows up in moments, and disappears entirely at others.
    • 71 Metascore
    • 60 Critic Score
    Let It Beard
    Let It Beard might be the weirdest but most original album of the year.
    • 71 Metascore
    • 60 Critic Score
    Saaab Stories [EP]
    We get a Harry Fraud production showcase, with limited Action highlights--a moderately enjoyable listen that’s nasty, but unsatisfying.
    • 68 Metascore
    • 60 Critic Score
    Lonesome Dreams
    Even with the cultural grandiosity described here, in many ways, Lord Huron's music is pretty standard Americana fair: catchy twang through a hazy lens.
    • 56 Metascore
    • 60 Critic Score
    rEvolver
    As toe-tapping or even eyebrow-raising as some of rEVOLVEr's 17 songs are (overlong at 66 minutes of no skits, just music), there's little to nothing here to put it over the top.
    • 70 Metascore
    • 60 Critic Score
    For the Good Times
    Equal parts good time and fresh, original takes on these classic tracks, the band offers a medley of styles that color these standards in a new light.
    • 71 Metascore
    • 60 Critic Score
    Defend Yourself
    When it falls, it’s awkward, but when it gets there, it gets there. The blunders are all Sebadoh, but so are the gems.
    • 73 Metascore
    • 60 Critic Score
    Tan Bajo
    While wild, boisterous garage rock is hardly hip in mid-2011, the breakneck speed and balls-out ferocity of Tan Bajo would be welcome at any time.
    • 68 Metascore
    • 60 Critic Score
    Sum/One
    For those up to the challenge, SUM/ONE is a unifying electronic endeavor, astute in its own deconstruction for an indie crossover, and rife with enough low-end euphoria to get the most dedicated basshead bouncing.
    • 70 Metascore
    • 60 Critic Score
    Four (Acts of Love)
    While all of these versions differ wildly from their originals, they also lose a withering amount of weight due to arrangements that are generally sparser and slowed down.... The other half of FOUR‘s tracks are original, and although they veer more on the foreboding side, they also end before Harvey can establish any kind of differing mood.
    • 65 Metascore
    • 60 Critic Score
    Harakiri
    Throughout the album, it seems that Tankian is preparing the listener for something bigger, something serious.
    • 81 Metascore
    • 60 Critic Score
    Researching the Blues
    While it's still a worthy comeback for a band way past its prime, Researching the Blues is similarly only a few solid tracks away from greatness.
    • 71 Metascore
    • 60 Critic Score
    Flux Outside
    Despite its flaws, Flux Outside is an album filled to the brim with energy, sincerity, and fearlessness of a music world overrun by genre conventions.
    • 72 Metascore
    • 60 Critic Score
    Goblin
    All this underlying pathos ultimately makes for a sad and honest chapter in Tyler's career - his young, ground-breaking, fascinating, magnetic career that's only like, three years old. He'll get off that couch of his soon enough.
    • 69 Metascore
    • 60 Critic Score
    Original Colors
    It's something bigger, wilder, and less pop structured.
    • 67 Metascore
    • 60 Critic Score
    13.0.0.0.0
    13.0.0.0.0 is a solid album with beautiful moments, but in the end, it lacks the grit that could push TTNG higher.
    • 66 Metascore
    • 60 Critic Score
    Never Trust a Happy Song
    A lot of them work; and some fall short. But even with that being said, for a debut, it's a fun, promising effort from a band who has already established themselves as a live show mainstay in the indie realm.
    • 78 Metascore
    • 60 Critic Score
    An Omen EP
    The EP's major aesthetic shifts do lead to one issue: the lack of a core or soul to How to destroy angels_, a shortcoming which will hopefully be resolved on the outfit's forthcoming long-player.
    • 70 Metascore
    • 60 Critic Score
    Radiosurgery
    There are plenty of catchy guitar riffs and just enough lyrics that stick, leaving the band to shine in a good way.
    • 60 Metascore
    • 60 Critic Score
    ...And It Shook Me
    It’s an easy album to love, but hard to love it more than anything else.
    • 73 Metascore
    • 60 Critic Score
    Tapes
    Ultimately, though, he [Edwin Congreave] knew exactly what his audience would enjoy, and he delivered accordingly.
    • 58 Metascore
    • 60 Critic Score
    Luciano Berio: Laborintus II
    At first glance, it's easy to brush off Laborintus II as half an hour of experimental drivel, but those that stick with it and let it soak will be rewarded.
    • 78 Metascore
    • 60 Critic Score
    Loma Vista
    It seems Family of the Year's fun-drenched formula is working just fine.
    • 73 Metascore
    • 60 Critic Score
    Joan Of Arc
    Where other releases traded in musical complexities, Joan of Arc strips the process down only to affirm Kinsella's forceful narrative intricacy.
    • 69 Metascore
    • 60 Critic Score
    Cynic's New Year
    This fourth LP once again comes close to making that leap [from second-tier to A-list], but ultimately it falls just short of the mark.
    • 57 Metascore
    • 60 Critic Score
    Native To
    Even though Native To is a pleasant introduction, there's nothing urgent here.
    • 67 Metascore
    • 60 Critic Score
    Enjoy the Company
    Enjoy the Company isn't here to tell you anything you haven't already heard, but if you're looking for some hopscotch rock just to keep you company, it can do the job.
    • 50 Metascore
    • 60 Critic Score
    This Machine
    This Machine is not the result of the Dandys turning a corner or shifting direction, but rather taking the best of where they've been and applying it to where they're going.
    • 71 Metascore
    • 60 Critic Score
    Handwritten
    Handwritten houses some of Fallon's strongest compositions to date, and while it ain't punk, neither is The Gaslight Anthem.
    • 68 Metascore
    • 60 Critic Score
    Underrated Silence
    It's ambient electronica that exudes shoegaze impressionism that is also as effective as ever.
    • 66 Metascore
    • 60 Critic Score
    Traveler
    It's not his most cohesive batch of songs.... But for a man who creates songs of which he says, "To me, they're for everybody to play," there's no reason not to include a little bit of this and a little bit of that.
    • 68 Metascore
    • 60 Critic Score
    Talent
    As it stands, Talent is a decent album content with being at that level, not fighting to rise or fall any notches.
    • 67 Metascore
    • 60 Critic Score
    Danzig in the Moonlight
    Danzig In The Moonlight is as much exploratory as comforting, and Stringfellow flashes muscle as arranger and producer throughout.
    • 68 Metascore
    • 60 Critic Score
    Burning Daylight
    While [pitch dark, occult-inspired music] might sound a bit novelty or even kitschy at first, it makes more sense once the initial discord wears off.
    • 74 Metascore
    • 60 Critic Score
    51
    He sounds confident and comfortable, doling out that trademark weird.
    • 71 Metascore
    • 60 Critic Score
    100 Acres of Sycamore
    The album's understated bleakness could be less uniform and more dynamic, but it's still a pleasant listening experience.
    • 79 Metascore
    • 60 Critic Score
    True [EP]
    Solange delivers an EP stocked with promising parts slightly dashed by a burgeoning identity crisis.
    • 75 Metascore
    • 60 Critic Score
    Kudos
    Kudos shows a lot of potential. Songs like "Yazuka Park" reveal that they're capable of switching things up. They just need to balance it out, instead of riding steadily on the same distortion-heavy waves.
    • 72 Metascore
    • 60 Critic Score
    Go Outside
    A coherent yet varied album.
    • 72 Metascore
    • 60 Critic Score
    Mauve
    It's 2012, and the lush expanse of Mauve, both feet planted in 1991, still has the ability to spread over you slowly and entirely, like a veil of noise.
    • 70 Metascore
    • 60 Critic Score
    Former Lives
    While the record doesn't completely clear the bar, all things considered, it doesn't fall too far short.
    • 82 Metascore
    • 60 Critic Score
    City of Refuge
    The collaborators' influences are visible, but not dominant, as Washburn's banjo remains central, striking a nice balance. Some fine tuning and vocal variation could make for a stellar follow-up to these new genre endeavors, but a return to her classics, for this immensely talented artist, would be equally as appreciated.
    • 67 Metascore
    • 60 Critic Score
    Excerpts
    For those who enjoy a contemplative stroll through the park on a Sunday afternoon, this album, paradoxically cohesive through its dissonance, perfectly scores that experience: it's bright, intriguing, and calming.
    • 78 Metascore
    • 60 Critic Score
    Who Needs Who
    Who Needs Who marks Dark Dark Dark as a band to watch, even if they are still a few songs short of hitting their stride.
    • 73 Metascore
    • 60 Critic Score
    Almanac
    "Sore Eyes", the only track that could have come from previous albums Widowspeak or The October Tape, halts the record some, but the rest of Almanc's 12 tracks dabble with Americana, the sounds of the '70s, and the band's already-established dreamy haze, resulting in a record that satisfies with each homage.
    • 75 Metascore
    • 60 Critic Score
    Departing
    Departing loses a great deal of what made its predecessor so rewarding. It's got the music down pat, but a skeleton doesn't make a person. While a surface-level listen to these songs is satisfying, they won't hold up for too long. Not with Mangum back in town, either.
    • 63 Metascore
    • 60 Critic Score
    Dethalbum III
    Dethalbum III's tongue-in-cheek bravado delivers a more potent hour of music than many of the icons who originally inspired it.
    • 61 Metascore
    • 60 Critic Score
    Black Panties
    It’s the polarizing swing, though, between Kelly’s genius and his flagrant misogyny that makes an album like Black Panties enticing and frustrating in equal measure.
    • 68 Metascore
    • 60 Critic Score
    End It All
    Throughout, Beans defies expectations while also simultaneously fitting everything together into a singular sound.
    • 78 Metascore
    • 60 Critic Score
    Migrant
    The meandering, navel-gazing second half diminishes the succinct and undeniable power of the first.
    • 71 Metascore
    • 60 Critic Score
    White Fence Is Growing Faith
    In contrast to the Kinks, White Fence eschews the immediacy of hooks in favor of impenetrability.
    • 66 Metascore
    • 60 Critic Score
    Dear Miss Lonelyhearts
    Dear Miss Lonelyhearts fails to reach back far enough to the band’s less polished, indie blues-fueled Robbers & Cowards days, but at least integrates that sound with hints of the striving-for-stadiums pop-rock Mine Is Yours offered up.
    • 71 Metascore
    • 60 Critic Score
    The Diving Board
    This 31st studio album won’t be anyone’s favorite Elton John record, or even necessarily a must-listen.... But, John’s vocals and technical playing raise nearly any song at least one rung up the ladder.
    • 75 Metascore
    • 60 Critic Score
    Mosquito
    The payoffs don’t always resonate with the pineal, which should be the one thing worth counting on from the band.
    • 59 Metascore
    • 60 Critic Score
    Synesthesia
    Too often, elements of the LP are unrecognizable from that of its competition.
    • 78 Metascore
    • 60 Critic Score
    I Can See the Future
    The album is a simple paean to the joys of motherhood and oozes contentment at every turn.
    • 66 Metascore
    • 60 Critic Score
    Pines
    Pines dances between Sudol's ballad-heavy debut, One Cell in the Sea ("Sad Sea Song"), and her more dance-ready sophomore effort, Bomb in a Birdcage ("Sailing Song"), and Sudol's subject matter has shifted further from pining for a man and closer to self reflection and possible happiness.
    • 76 Metascore
    • 60 Critic Score
    Ghost on Ghost
    As puzzle pieces to a full-length album, at least a third of these songs come off as superfluous and unnecessary.
    • 70 Metascore
    • 60 Critic Score
    The World Is Yours
    It's a curtain call, a salute to the masters by the master himself, and frankly, as moderate as The World Is Ours might be, one cannot deny that what Lemmy says, goes.
    • 64 Metascore
    • 60 Critic Score
    In Guards We Trust
    At its best, In Guards We Trust is terrific fun--a bold break from the cynicism and detachment that characterizes too much of the band’s native city. But a few more careful edits might have kept the record from blowing its gasket by side B.
    • 70 Metascore
    • 60 Critic Score
    Food & Liquor, Vol. 2: the Great American Rap Album, Pt. 1
    Some of these tracks give Lupe the room to triumph... But he falters on the frivolous "Heart Donor."
    • 60 Metascore
    • 60 Critic Score
    Dedication 4 [Mixtape]
    For all its flaws, this tape still stands as evidence that Dwayne Carter isn't falling off as much as you might be hearing about.
    • 74 Metascore
    • 60 Critic Score
    Noctuary
    he album is full of gentle waves, and as such, the peaks tend to stand out, but the formula becomes apparent after enough iterations.
    • 72 Metascore
    • 60 Critic Score
    Port of Morrow
    Port of Morrow captures Mercer in a different era, and although questionable at times, it's a fruitful adventure that requires a little swinging and paddling.
    • 67 Metascore
    • 60 Critic Score
    Uno!
    For now, we have to take it on its own accord: an overly-slick record that does the job for its current audience of diehards, whilst teasing the crusty veterans that dabble occasionally.
    • 63 Metascore
    • 60 Critic Score
    Keep Your Dreams
    The fact that a few more structured, disco-leaning tracks fill out the album can't entirely redeem the aimlessness that pervades so much of the disc, leaving Keep Your Dreams in muddled territory.
    • 64 Metascore
    • 60 Critic Score
    Time Was
    Time Was is a relaxed record, one that thrives on its melancholic mood. The pace is slow and methodical, but never boring.
    • 68 Metascore
    • 60 Critic Score
    Animator
    Animator is an easy album to admire, as the band is clearly pushing themselves and working in sonic territory that is neither comfortable nor easy.
    • 63 Metascore
    • 60 Critic Score
    A Very She & Him Christmas
    Ultimately, A Very She & Him Christmas is an enjoyable if forgettable project that its creators probably had a very fun time making.
    • 74 Metascore
    • 60 Critic Score
    True
    Despite the various moments of divergence on True, there is a musical uniformity that makes the album sound like a 45-minute multi-part song, a significant departure from Amoral, their disjointed but adventurous debut.
    • 76 Metascore
    • 60 Critic Score
    Come Home To Mama
    Whether anyone outside Wainwright's devoted fanbase will take notice of the album is hard to say, but the world could use more pretty voices with smart ideas.
    • 67 Metascore
    • 60 Critic Score
    Radiant Door [EP]
    Just as In Love With Oblivion helped them gain a better perspective on what their strengths are, the Radiant Door EP is a fitting in-between to hold listeners over until they reveal what's in store for album three.
    • 78 Metascore
    • 60 Critic Score
    Kill My Blues
    What we're left with sounds an awful lot like someone trying to recapture the manner in which to express frustration and rage. She's not quite able to set the angst burners to full, but should she need to?
    • 70 Metascore
    • 60 Critic Score
    The 2nd Law
    The 13 tracks lack some focus and cohesion, weakening what should be a limitless, quasi-spiritual slice of rock and roll transcendence.
    • 70 Metascore
    • 60 Critic Score
    The Deep Field
    Like some of rock 'n' roll's most revered performers, Wasser likes to evoke a little bit of danger and grit.
    • 59 Metascore
    • 60 Critic Score
    Lightning
    On their fourth LP, Lightning, the lovebirds have made songwriting a priority; but, as is the case with their high-energy, perpetually happy, DIY, song-along anthems, the lyrics alternate between the profound and the overwrought.
    • 54 Metascore
    • 60 Critic Score
    Wonderland
    Wonderland may have worked better as a series of EPs, but as is the album fails to be more than the sum of its parts, possibly even hindered by poor arrangement of tracks and the odd inclusion of "The Kids Will Have Their Say."
    • 72 Metascore
    • 60 Critic Score
    Flowers
    Flowers serves as a pleasant showcase of ornate, lightweight pop songs, but doesn’t quite raise the stakes beyond what we’ve seen from Sin Fang in the past.
    • 60 Metascore
    • 60 Critic Score
    thefearofmissingout
    While half of the album succeeds in combining a slew of genres and sonic elements into a cohesive mix, the experiments don't always work so well.
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